Copy and paste this worksheet as a separate page linked to the Homepage of your portfolio. DO NOT type your answers on THIS document because it needs to be used by other students. The title of your page which replies to these questions is linked to your portfolio and should begin with the first initials of your first and last name. (In my case, the link to this worksheet from my portfolio page would read frfires.)
You may earn a maximum of 3 points toward your final grade by doing the above and answering the questions and submitting them ontime (no later than 12:01am Sunday, April 22). Any worksheets submitted after the deadline will get a 0.
You will be rewarded a maximum of 3 points if I judge your work to be above average. You will receive 2 points if your work is average, that is it may have a few minor mistakes in some of the answers but demonstrates correct grammar and indicates that some, but not all, of the answers, are acceptable and well expressed. You will earn only 1 point if you simply answered the questions and/or if you use poor grammar and if there are signs that you have not read the material on which your answers are based.
Note: Like other plays we have dealt with, the construction of this play is unique and often challenging to readers. It generally works well on the stage but not so well in the study. So, the questions posed about the construction of the play do not easily follow Ball’s method of analysis. So, I have taken the liberty to change up some of the questions.
1. You may identify the stasis in the play but it isn’t necessarily at the beginning of the play. Where is it and who does it involve? NOTE: Do not assume that the stasis of the play is the same as the stasis of the video version that you are required to see. Only discuss the play in this and answers to the following questions.
2. Ball points out that the intrusion sometimes occurs late in the dramatic action. What is the intrusion that breaks the stasis in Fires in the MIrror and how is it broken?
3. Why do the events of the play take place at this particular time and place? In other words, what is the unique factor that is out of the ordinary that causes a turn of events to take place? Hint: the unique factor may have something to do with you? How does the title figure in your answer?
4. State the dramatic questions that must be answered by the end of the play? (Ordinarily, the dramatic question shares a close connection with the intrusion.)
5. Use the narrator of the work to answer the questions concerning character. Ball says, a character is revealed by what he/she does, ie. The dramatic actions that are taken. Examine what these particular characters wants. The wants of a character often encounter obstacles that get in the way of achieving those wants. Ball says there are 4 kinds of obstacles that frustrate the wants of a character. They are: a. Me against myself, b. Me against another individual, c. Me against society (that is law, social norms, etc.) and, d. Me against fate, the universe, natural forces, God or the gods. In answering these questions be sure to point to the particular obstacles that demonstrate these obstacles facing the narrator.
6. The most important information in most plays takes place during theatrical moments. Identify the most theatrical moments in Fires in the Mirror.
Copy and paste this worksheet as a separate page linked to the Homepage of your portfolio. DO NOT type your answers on THIS document because it needs to be used by other students. The title of your page which replies to these questions is linked to your portfolio and should begin with the first initials of your first and last name. (In my case, the link to this worksheet from my portfolio page would read frfires.)
You may earn a maximum of 3 points toward your final grade by doing the above and answering the questions and submitting them ontime (no later than 12:01am Sunday, April 22). Any worksheets submitted after the deadline will get a 0.
You will be rewarded a maximum of 3 points if I judge your work to be above average. You will receive 2 points if your work is average, that is it may have a few minor mistakes in some of the answers but demonstrates correct grammar and indicates that some, but not all, of the answers, are acceptable and well expressed. You will earn only 1 point if you simply answered the questions and/or if you use poor grammar and if there are signs that you have not read the material on which your answers are based.
Note: Like other plays we have dealt with, the construction of this play is unique and often challenging to readers. It generally works well on the stage but not so well in the study. So, the questions posed about the construction of the play do not easily follow Ball’s method of analysis. So, I have taken the liberty to change up some of the questions.
1. You may identify the stasis in the play but it isn’t necessarily at the beginning of the play. Where is it and who does it involve? NOTE: Do not assume that the stasis of the play is the same as the stasis of the video version that you are required to see. Only discuss the play in this and answers to the following questions.
2. Ball points out that the intrusion sometimes occurs late in the dramatic action. What is the intrusion that breaks the stasis in Fires in the MIrror and how is it broken?
3. Why do the events of the play take place at this particular time and place? In other words, what is the unique factor that is out of the ordinary that causes a turn of events to take place? Hint: the unique factor may have something to do with you? How does the title figure in your answer?
4. State the dramatic questions that must be answered by the end of the play? (Ordinarily, the dramatic question shares a close connection with the intrusion.)
5. Use the narrator of the work to answer the questions concerning character. Ball says, a character is revealed by what he/she does, ie. The dramatic actions that are taken. Examine what these particular characters wants. The wants of a character often encounter obstacles that get in the way of achieving those wants. Ball says there are 4 kinds of obstacles that frustrate the wants of a character. They are: a. Me against myself, b. Me against another individual, c. Me against society (that is law, social norms, etc.) and, d. Me against fate, the universe, natural forces, God or the gods. In answering these questions be sure to point to the particular obstacles that demonstrate these obstacles facing the narrator.
6. The most important information in most plays takes place during theatrical moments. Identify the most theatrical moments in Fires in the Mirror.